Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms.

Retroguard is a typeface that was inspired by classic movies and frequently makes people nostalgic for the height of cinema. This typeface is distinguished by its strong, dramatic letterforms, which frequently evoke the early 20th-century Art Deco and Art Nouveau movements. Images that enhance boldness and drama, including black-and-white photos, antique movie posters, or pictures of film reels, are frequently used in conjunction with this font.

ITC Noovo is from British designer Phill Grimshaw and grew out of his work on ITC Rennie Mackintosh. He says, I still had 'Nouveau' coming out of my ears" and he drew it after a series of computer-intensive projects, "when I was missing the smell of permanent marker pens and the feel of paper." ITC Noovo is highly stylized yet works as both a text and display typeface."

How can Teutonia be called “Art Nouveau” with all those straight lines? It seems like a contradiction. In fact, however, Art Nouveau embraces a rather wide variety of stylistic approaches. Five well-known examples in the field of architecture serve to illustrate the range of diversity in Art Nouveau: Saarinen’s Helsinki Railroad Station, Hoffman’s Palais Stocklet in Brussels, Lechner’s Museum of Applied Arts on Budapest, Mackintosh’s Glasgow School of Art and Gaudi’s Sagrada Familia in Barcelona. Only the last fits comfortably within the common perception of Art Nouveau. Whereas Gaudi would avoid the straight line as much as possible, Macintosh seemed to employ it as much as possible. The uniting factor is that they all represent “new art” -- an attempt to look things differently than the previous generation. Even when they draw on the past -- e.g. Lechner in the use of traditional Hungarian folk art -- the totality of the expression in new. Teutonia clearly shows its blackletter roots in the ‘D’ and the ‘M.’ Roos & Junge of Offenbach am Main in Germany produced Teutonia in a "back-to-basics" effort that has seen many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923 Joost Schmidt at Bauhaus in Weimer took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. Even though none of these designs took the world by storm, they all made a contribution to our understanding of letterforms and how we use them. Teutonia is compact and surprisingly readable at 12 points in print, but does not do as well on the screen. Extra leading is suggested. Four ligatures are supplied: ch, ck, sch and tz. The numerals are tabular.

Larisch is a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift (Examples of Artistic Writing). Larisch is an attractive, casual set of caps of even strokes with rounded terminals. Except for the terminals, it is similar in style to Kunstler Grotesk. The numerals are lining or ranging figures, meaning they line up with the baseline, unlike old-style text figures. All are of equal width for setting up columns of numbers. The letters are well formed and easy to read, as you would expect from a writing master. Ligatures includes CH (123), CK (125), FT (135), LA (137), LO (167), OO (172), CO (177) and TT (181. An alternative O with underscore is provided at position 111. Friendly, but not fancy -- a very useful all-cap font.

This font is the condensed version of Queulat, but keeping the same features as the original typeface. Queulat Cnd is a hybrid typeface that combines different styles, reflecting charm, freshness and, especially, a strong personality.. Since it is a condensed font, it is well-suited for publishing and subheadings. The font is inspired by Modern and Grotesk styles. The former is shown in some characteristic features such as teardrop terminals, which give the typeface an attractive unique look, making it an ideal choice for logotypes and labelling. The latter, with its rationality, makes Queulat Cnd a stable and strong face for headings and subheadings. The combination of styles can be clearly seen by comparing the Regular with the Alt version. The Regular version is more simple than the Alt one. Differently, the alternative version possesses more features of the Modern style, like teardrop terminals in ‘k’ and ‘v’.

Designed for ParaType in 2007 by Isabella Chaeva. The type is based on Bukvarnaya (TextBook) photocomposing version designed in 1987 by Emma Zakharova. The initial Bukvarnaya for metal composition was created at Polygraphmash in 1958 by Elena Tsaregorodtseva. It was developed for primers and the first level school textbooks. An early sans serif ('Grotesque') with half-closed static letterforms. For use in book and magazine typography, advertising and headlines. Also may be useful as screen font.

Steve Jackaman and Ashley Muir. It was our initial intention to develop a suitable lowercase for Les Usherwood's 'Elston' typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin). However, the new design quickly took on a life of its own, and we decided to call it ‘Creighton’. Originally released as a four font family, we have now added eight more weights and made the entire family into 'Pro' versions for good measure.

Bushman a font with capitals and decorative foliage letters. It works pretty simply - just type a word as usual with first capital letter, and it will automatically make the first two letters with growing leaves. The second big part of this set is a supporting font Bushman Sans. It's a modern grotesque font with 7 weight variations. Basically this font is supposed to support a main decorative theme with some smaller text. Thank you and have a nice day

A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood. Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.

Jaroslav is a typeface that breaks down typical assumptions on the construction of a monolinear grotesque, but still maintains excellent readability and the recognizability of individual characters. The sensitively-balanced type family of five weights is accompanied by a distinctive italic, so it works well with both expressive titles as well as shorter texts. This is why all weights include small caps, nine types of figures, alternatives, a large number of ligatures, arrows and other ornaments.

Book Country first appeared on a poster for "New York is Book Country". It was inspired by the lettering of Ben Shahn protesting the 1927 execution of Italian radicals Nicolo Sacco and Bartolomeo Vanzetti. The letterforms effected an urgent and powerful message. The font includes a derived lower case and an OpenType contextual feature which maintains the rhythm of the uneven baseline when characters repeat to mitigate the stiff, mechanical feeling that occurs when casual lettering is typeset.

Cervo Neue is the new perfected and extended version of Cervo, containing 18 variants. It differs from the previous version with the higher accents over glyphs, enlarged punctuation, old-style numerals and the newly added varieties Semi Bold, Bold, Extra Bold and Black. Additionally, there is the variety of grotesque. Font Cervo is inspired by a “You And Me Monthly” published by National Magazines Publisher RSW „Prasa” that appeared from Mai 1960 till December 1973 in Poland.

Grafita is a typeface pair where one font is a strict geometric grotesque and the other is more playful and display. The first typeface is good for typing large amounts of text. The second is for headlines, logos, posters, covers, spectacular presentations, and more. The combination of these two fonts would be great for branding, websites and other tasks. Each of the fonts has extensive language support, OpenType features such as ligatures, alternate characters, fractional numbers and more.

In ancient Greece, the inhabitants of the Aegean islands and the northwest coast of Asia Minor were called "Eolia". Eolia is a family of sans serif fonts that combine grotesque style with certain geometric characteristics. This family composed of six weights harmonically controlled, has blunt strokes, perfectly defined with subtle modulations as a result of careful optical corrections. The control of the counterforms and accurate kerning gives it great readability, personality, aesthetic value and visual impact.

The cold, conservative strokes of a typical sans-serif/grotesque descend into a distinctive "bat-wing drip" in this subtly spooky font named after the band for which it was originally designed. Perfect for any wordings which project darkness or menace, yet still require an air of respectability. Business in the front, evil in the back. Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and European diacritics.

1955 Is a fresh grotesque interpretation. Any detail too historically referenced is replaced by strong geometry and idiosyncratic features. Round dots and punctuation, curved “l” foot, single storey “g” etc. all these details make 1955 a very contemporary typeface (unlike the name suggests!). With a range of weights going from Thin to Black including Italics, OpenType Features, extended character-set, tailored for print and digital, 1955 has everything to become your new go-to typeface for every project!

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

A linear geometric sans serif influenced by neo-grotesques and the early Swiss type foundries. Smooth, even letter shapes are carefully drafted from a grid to produce a uniformed, low contrast typeface with a high degree of readability. Details include 540 characters with alternative uppercase R, alternative lowercase a, e and g, 5 variations of numerals, manually edited kerning and opentype features. For the extended version of this type family with condensed styles, visit Nuber Next .

Ukrainian humanistic sans of universal purpose. Thanks to humanistic proportions and somewhat calligraphic sharpness, the typeface unobtrusively disturbs the eye, while remaining at the same time a “strong” modern grotesque. Asymmetric motive, distinctive letters and alternative glyphs give the font a Ukrainian flavor. The character set includes Slavic Cyrillic, European Latin and Monotonic Greek. Humus contains traditional and original ligatures, numeral variants, fractions, stylistic and historical alternatives in Cyrillic. The typeface was designed by Andrij Shevchenko in 2007-2022

On one hand, this font serves as a calm sans-serif, while on the other, it stands alone as a graphic system. Enriched with various shapes and symbols, it goes beyond the mere conveyance of information through text. It's an emotional neo-grotesque and a versatile tool in the hands of a designer, capable of adapting to a project and guiding the flow of information in the desired direction, adding either rigor or emotion in the appropriate places.

Figgins and Caslon may be names familiar to many as Type Founders. Indeed they are, but they are perhaps less well known for the emergence of Sans Serif type styles which have become part of our lives since 1889. The first hundred years of this style is celebrated with this design by Adrian Williams, completed in 1989. It echoes many features of the Gothic, Grotesque and Sans Serif models of the period, based particularly on the 1870 Figgins.

Coltan Gea is a Slab Serif typographic family with 6 Weights plus the italic versions all include small capital letters and cryptocurrency symbols. It is a geometric, minimalist typeface, with neo-grotesque modulations and slightly rounded corners. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The proportions, metrics and kerning I have configured meticulously for a perfect reading in any size. The complete package includes the roman version in VariableFont format.

D Blues its a sans serif typefamily of 9 weights plus matching italics. It is inspired by the neo humanist typefaces with a mix of 20st grotesque sans typeface. D Blues serve very well in web & print design areas, body text, excellent web-font legibility etc… D Blues is equipped with a complete set of opentype features including alternative glyphs, fractions, ligatures and many more. It is perfectly suited for highlighting lettering, magazines, web, interaction design, advertising & logotypes.

Argot is inspired by condensed grotesque letterforms and would be a monolinear sans except for an unorthodox disparity between inner and outer shapes. Elegantly curved outlines contrast starkly with austere rectangular counters, suggesting a no-frills functionality, 20th century modernism, or an unsettling discordance. The squared off inner spaces also add clarity and crispness. Argot is available in three widths — Wide, Normal and Narrow. Each width is supplied in three weights — Regular, Bold and Black — with corresponding italics (obliques).

Poster Cut Neue is a hand-drawn, rough display family. With some retro grotesque sans serif inspiration, the characters give an informal and active look and feel. The imperfections keep it casual but it is still legible. Ideal for organic and natural settings where a more human touch is required with branding, packaging, headlines, posters, advertising, illustrations, titles, etc. Switch between upper and lowercase letters for a uniquely drawn glyph, adding variety and helping avoid repetition.

Inspired by the urban typography, which later led to a grotesque style. It can be used for bold editorial statements graphic heavy prints or just as a simple logo. This new type will definitely make your designs stand out and unique. Its robust, strong and contemporary form makes it perfect for any project that needs the extra strength. Humanism is available from A to Z in the regular and italic style, developed in an urban style.

Konstanz is a sans serif font family inspired by the design of books and magazines for museums, art galleries, design biennials, architecture, and theater, among others. Its design focuses on a grotesque aesthetic but brings back certain shapes from Bauhaus and Futura. Konstanz includes 8 weights plus its matching italics, besides a stylistic set that increases its use possibilities. Konstanz ensures a graphic with a high impact and is ideal for designing editorial projects, posters, branding, and advertising.

Aspidistra is a modern vintage typeface; which is to say a Studio K original with a period feel: it has a strong Art Nouveau influence (a distant cousin of Arnold Bocklin). Why Aspidistra? In the first half of the last century an Aspidistra was a must have accessory of the aspiring middle classes (see George Orwell's Keep the Aspidistra Flying), and to my mind this font evokes the chintzy charm of that era.

West West is a high-contrast condensed display serif. West West has extra large x-height making it suitable for efficient choice for distinguishable display use such as headlines, packaging, magazines, posters and advertising, among any other. In large sizes, you can also try tighter tracking for maximum impact. With certain of Art Nouveau shapes and massive contrast West West is a great choice anywhere you need a stylish and fashionable touch.

Built in 1928 in Wichita, Kansas, the Uptown Theater started out as a movie house, but today still exists as a dinner theater. Online images of this vintage venue’s perpendicular wall sign show the theater’s name in an Art Nouveau influenced angular style with rounded terminals – similar to that of pen drawn sign lettering of the era. Adapted as a digital type font, Silent Film JNL is available in both regular and oblique versions.

RMU Siegfried Pro is another breathtaking Art Nouveau font from the fin-de-siècle period which underlines your stylish projects in a remarkable way. The font was carefully redesigned, some oddieties abolished, and the font was extended to make it usable for Central European languages too. Three embedded graphic elements let you make a fitting frame. The letter k has an alternative form, so look for all OT features in this font.

Metropole is an exercise in combing the curvaceous lines of the Art Nouveau with the solid character and simplicity of Art Deco. The resulting three display faces combine the spirit of the 20s and of the thirties, creating lively fun display faces for headings, signage and banners. These characterful faces with clear simple outlines are also ideal to lend a distinctive air to your web pages, or to create a distinctive 'house-style' for lettering.

Hawkins is a rounded serif combined with small hints of Art Nouveau influence and remarkably high x-height. Hawkins takes a lot of space and is a well suited display typeface for any use from print to online and from advertising to book cover or from product design to digital posters. Hawkins is packed with a few OpenType features -Standard Ligatures and plenty of Swash Alternates, as well as few Titling and Stylistic Alternates.

RMU Edelgotisch is a carefully redrawn revival of the then trend-setting Schelter & Giesecke hot-metal original from the fin-de-siècle period. This fine vintage font elevates all your projects in an Art Nouveau style. To reach the historical long s, either type the integral sign [ ∫ ] or turn the round s into the long s by using the OT feature historical forms. It is also recommended to activate the OT feature discretionary ligatures.

The source for these hand-drawn initials was an early 20th Century French alphabet book whose pages were displayed online at an image sharing site. This style typifies the Art Nouveau period, and makes a wonderful paragraph starter or "drop cap" for your printed projects. Some users may still want to compose headlines with this font, but be aware there are no punctuation marks, accents or kerning - just the twenty-six initials.

This typeface pays homage to numerous Victorian and Art Nouveau predecessors, while straying somewhat beyond their usual conventions. All lowercase letters ascend in unison, whereas capitals descend below the baseline. A rigid set of uniform strokes keeps the chaos reigned in, while various calculated inconsistencies affect a vaguely hand-drawn quality to this quirky, downright decadent font. Comes packaged with the standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and Western European diacritics.

Named after the trendy New York City locale, SoHo Nights BF features sensuous curves and tapering lines that combine to create a unique new look that’s a little bit art deco and a little bit art nouveau. The font also exhibits attributes that can be described as cartoon-like, and even “spooky” when seen in short blocks of large text. Use SoHo Nights BF when your projects require that certain "air of mystique".

A 1990s-vintage Radiohead poster by Jermaine Rogers provided the go-by for this tight, trippy techno face. Jermaine's design, it turns out, was an adaptation of a Ray Larabie font, Dignity of Labour. This version cleverly combines stark geometry with Art Nouveau sensibilities to produce a kind of Digital DNA feel. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Arnold Boecklin is a true Art Nouveau font, evocative of outdoor cafes in the years prior to World War l. Arnold Boecklin seems to be telling a story, with its decorative curves and varying emphasis of strokes. The Arnold Boecklin font should be used for specific copy as in headlines or advertisements, bearing in mind its strong design. Arnold Boecklin is a trademark of Linotype GmbH and may be registered in certain jurisdictions.